This site was created as a platform for me to share my thoughts, my music, and to connect with fellow sax players and musicians committed to sharing ideas about the soprano saxophone.

Sam Newsome

"The potential for the saxophone is unlimited." - Steve Lacy

Wednesday, March 20, 2013

Oral Cavity Manipulation

On the subject of oral cavity
manipulation, there is often the misunderstanding that this process involves
literally “opening” and “closing” the throat. When in fact, the position of the tongue is the contributing factor to obtaining oral cavity
flexibility. Classical saxophonist Kyle Horch also agrees that it is essential to have an open throat,
but argues that this may not be the most useful way to conceptualize the process.

He writes:

Musicians often speak of the necessity of
having an open throat.For most of the
course of the trachea this is no problem; our lives depend on an open trachea
and it is actually quite impossible to close it.The danger area is at the top of the throat,
where the trachea opens into the back of the oral cavity.Here, it is possible to have a sensation of
‘closing’ the throat.To avoid this,
some players try to imagine the throat as being as open as when yawning.Personally, I try to have my throat feel as
open and relaxed during blowing as it was during the inhalation of the previous
breath.In my experience, however, the
real culprit in most internal bottlenecks is actually the tongue, which can
easily arch either backwards out over the throat opening, or up toward the roof
of the mouth. The syllable method is a useful tool in creating practice
models.The tongue position used in
saying vowel sounds such as AH and OO allows an unobstructed airflow, as
opposed to EE or IH, for example, which cause the tongue to rise, narrowing the
flow and changing the character of the vocal tone from an open, relaxed quality
to a more restricted, intense quality.(Horch 1998, 78).

Using the “syllable method” as a tool for tongue
placement memorization is an effective technique often utilized by many players. Jazz saxophonist Dave Liebman also talks about this
process in great detail, discussing how using phonetic syllables are
instrumental in regulating the air stream velocity. He writes:

Imagine that the mouth cavity
is like a cave with air entering at one end (from the throat passage) and
exiting at the other end into the mouthpiece.The position of the hump portion of the tongue is crucial because of its
effect upon air resistance, which in turn influences the final velocity of the air
stream.Much like any body of
disturbance in the middle of our imagined cave, we have to consider what the
best position would be for the desired result....The
optimum position for this “disturbing” body or tongue hump is somewhere in the
middle of the oral cavity, allowing the air stream to go above, below and
around it (Liebman 1994, 23)

It is apparent from the writings
of Horce and Liebman that learning to control the various air stream velocities
are significant in helping to gain control of the oral cavity process. The
following table presents syllables devised by Horce (highlighted in yellow), and myself that
may be used to achieve three (3) levels of air stream velocities. Each of the
syllables when sounded creates frequent vibrations in the throat that range
from relaxed to tense, also noted in the table. The appropriate air velocity needed all depends on what the performer is attempting to accomplished.

Low Velocity(Very Relaxed)

Medium
Velocity

(Relax

High Velocity(Restricted)

Taw

Tah

Tee

Aw

Ah

Ee

Low

Lah

Lee

Table
I: Syllables used to achieve varying levels of air stream
velocities and

tension in the throat

When attempting to incorporate
the syllables in Table I, you must also take into consideration the
different variables that may affect the effectiveness of the syllables: (1) the
register in which they’re played, (2) the volume at which they’re played, and
(3) the instrument, mouthpiece, and reed combination that’s used to play them.

The following oral cavity
manipulation exercise in Figure 2:1 was designed to help with pitch flexibility and aural acuity. The D note, which is the first note
in each measure, is the only pitch that is actually fingered. Incorporating the
“syllable method, ”all notes, from Db down to G natural, are played by lowering
the pitch using the “TAW “ sound. As noted in Figure 2:1, the ‘TAW” is used to
lower the pitch down to the desired note, and the “EE” is used to raise the
pitch back to the original note--which in this case is the D note.

Figure
2:1 Oral cavity exercise using the syllable method

Figure 2:1 may also be practiced,
beginning and ending with the following pitches:

(1)F3–
C3

(2)E3
– B3

(3)Eb3
– Bb3

(4)D3
– A3

(5)Db3
– Ab2

(6)C3—G2

If after you become comfortable with the aforementioned exercises you decide to extend them, play to the lower register of the
instrument, you may find it difficult to play the exercise in its entirety. However, in the extreme lower
register of the instrument, such as D1 – Bb1, it is important to note that any noticeable differences in the
pitch being lowered will still prove beneficial in utilizing the oral cavity
manipulation process. Furthermore, it has been my experience that producing these syllables in any register will sharpen the player’s aural
acuity, as well as their sense of tongue position memorization. It is suggested
that the notes in the exercises in Figure 2:1 are check by against the same
notes using conventional fingerings and/or a chromatic tuner.

Oral
cavity manipulation is often the key focus of players when attempting to perform notes and sounds
that go beyond the original scope of the instrument, also known as extended techniques. It is importnat to note that this should be the focus even when attempting to play notes that are “normal.” Saxophonist and educator Michael Hester also
agrees with this assessment. In his article “Saxophone Altissimo” Yamaha
Educator Series, he states:

It is unfortunate that saxophonists are not
faced with oral cavity flexibility early in their musical development. Performers
on brass instruments and the flute deal with this day one. Squeaks played by
young saxophonist are simply valid notes that they did not have the control to
avoid. It would be very easy for a teacher to place a wall between the student
and future attempts at the highest notes by treating such an event as a
terrible mistake…It is best to explain that a squeak is a real note,
demonstrate it for him or her and then ask the student to try and produce that
note again (Hester 2).

It is evident that oral cavity manipulation plays an important role in helping saxophonists understand the inner workings of sound control, particularly as it pertains to performing extended techniques such as multi-phonics, microtone production, and the altissimo register. However, these procedures only represent one half of the extended-technique puzzle. The other half is having an understanding of the fingerings used once air
has been blown through the instruments to produce these sounds—which, by the way, is the topic
of the next discussion.

12 comments:

Hi Sam - great article on a topic that I think should be at the centre of all saxophone (and woodwind) playing!

The only thing I'm not sure about is Table 1. My thinking was that the EE tongue shape, by creating a smaller aperture that the same volume of air travels through actually creates higher velocity air stream. Thoughts?

FASTEST WAY IN WINNING THE LOTTERY WITH A GREAT LOTTERY SPELL CASTER CALLED DR OGUDU IS HERE TO HELP YOU WIN TODAY CONTACT HIM NOW AND GET MORE INFORMATION ABOUT HIM ON HIS WEBSITE: https://oguduspelltemple.com/

ATTENTION EVERYONE, This is my testimony on how I won $3,471,009 million,I'm PATRICK FISHER from USA I want to use this opportunity to thank Great DR OGUDU for helping me to win the lottery of $66 million lottery ticket draw. All lottery winners has a secrets they will never share to the public 70% will keep the secret of their success to the grave, but in this life of no mans own,you have to help others in other for you to gain more help in the future,I am a man who believe that one day i will win the lottery. Finally my dreams came through when i came across thousands of testifers about OGUDU SPELL TEMPLE on a site, I contact him directly and explain my predicaments ti himregarding wooping failure in lottery games and debts I have come a long way spending money on ticket just to make sure i win. But i never knew that winning was so easy until the day i meant the spell caster online which so many people has talked about that he is very great in casting lottery spell with winning numbers. My Heart is fill with joy today after Dr Ogudu cast the Lottery spell for me, I felt enveloped by the control of the spell. This spell has change my life into riches,i now have my own car and a house. I am now out of debts and experiencing the most amazing good luck with lottery after i won a huge amount of money. My life have totally changed for good and many more which he have done for me too numerous to mention if you have tried winning the lottery but no results contact Dr Ogduu for life changing tickets and lottery numbers now. Contact him now and live a fulfill life

Hi AG - Thanks for reading my article. My thinking by creating a smaller aperture with the EE tongue shape, is that there's less air coming through the oral cavity--sort of like covering the whole of a vent with your hand. Which in turn, causes the air to be released at a greater velocity when the vent in uncovered (similar to the TAW tongue shape) mainly from the pressure build up. But I understand what you're saying too. For example, if water was spurting out of a hose and you then covered half of the opening, the water would, consequently, spurt out at a higher velocity. But you might be right. I'll think about it. And thanks for bringing it to my attention. And I'm curious to hear what you think too.

I read your article with interest. I'm currently collecting information for my master thesis which deals with air velocity as an education tool and an aid in musical interpretation. I'm a classical saxophonist (but not exclusively), and I learnt most recently from a teacher that the position of the back end of the tongue should not be altered in order to have a certain (as mentioned quite great) air velocity flowing through the oral cavity. It also helps dealing with some intonation issues by lowering notes. Of course, altering the whole tongue position can be a nice tool to change the timbre.

Speaking about timbre: Don't you think that by altering the air velocity (or air pression, I've been told that physically, there is no difference) you can change the timbre?I know I'm going a little bit off topic, but reading your blog has got me interested in your and the commentator's opinion...

Hi Sam, Sorry that I'm just discovering your comment. The focus of my article was dealing with changes in the air stream velocities as a way of helping the player perform extended techniques: multi-phonics, altissimo, etc. And I do agree with your teacher that when playing "normal notes" you should minimize the altering of the back end of the tongue. However, having a command of the various air stream velocities does give the player timbre and pitch options when their playing situation requires them to think and perform outside of the norm. Thanks again for your comment.

I watched Eugene Rousseau demonstrate this same exercise you recorded here back in the early 80's. It is indeed a great way to develop flexibility and help control not to mention open up your sound in the upper register and all registers. great way to help learn how to "voice" the cavity for altissimo and split tones.

I Am Marie Holmes From North Carolina!!!! This is My Testimony on How i Won 188.000000 Dollars. on Power ball jackpot lottery, The best thing that has ever happened in my life is how i win the lottery. I am a woman who believe that one day i will win the lottery.finally my dreams came through when i Email Dr Miracle. and tell him i need the lottery numbers. i have come a long way spending money on ticket just to make sure i win. But i never know that winning was so easy until the day i meant the spell caster online which so many people has talked about that he is very great in casting Lottery spell with winning numbers, I contacted this man and he did the spell and he gave me the winning lottery numbers. But believe me when the draws were out i was among winners. i won (ONE HUNDRED AND EIGHTY EIGHT MILLION DOLLARS ) This Man is a very strong voodoo Dr who gives out the numbers that can never fail. Dr Miracle, Truly you are The best, with these man you can win millions of Money Through Lottery,, Thank You Very Much Sir,Please Sir keep Your Good Work Because People Need Your Help in Their lives,, Contact Via Email,,,MIRACLESPELLHOME@YAHOO.COM !!!!!

The SN Trio live at Corlears Hook Park - Arts for Art Series (2017)

Live at the 2017 Sopot Jazz Festival

Meet Sam Newsome

Welcome to my blogsite and musical home! My name is Sam Newsome and I am a New York-based soprano saxophonist. As far as what I do: I divide my time between being the coordinator of the music program at LIU Brooklyn, an experimenter of new sounds on the soprano saxophone, and a performer and educator of jazz around the world. My area of focus over the past 10 years or so has been solo saxophone—an artistic pursuit that has brought me many rewards and riches, and has led to numerous fruitful collaborations. My blogsite (both blog and website) is unique in that it (1) contains articles about various topics related to jazz and the soprano saxophone, and (2) functions as my main website, providing information about upcoming performances, CD releases, reviews, and accolades. And by clicking the PRESS KIT link below, you can have access to press photos and a detailed bio. In this day and age, I figured there’s no need having both a blog and a website. I found it increasingly difficult trying to maintain both. It made sense to just combine them. So welcome to Soprano Sax Talk, and I look forward to sharing ideas and music with you over the next several years.
Sincerely,
Sam Newsome

"As solo sax recordings go, I remain a big fan of the Anthony Braxton / John Butcher styles and approaches. However, in view of Sopranoville, I’ll be adding Newsome to the list of individuals whose future output is of interest." - Avant Music News

"...extended technique but taken to the next power." - Ken Ackermann, All About Jazz

"A nice look at the outer edges from a cat with the chops to pull it off." - MIdwest Records

"On his latest album Newsome has pushed the limits on his saxophone exploring experimental and avant-garde sounds." - Jon Neudorf, Sea of Tranquility

Reviews of Sopranoville: New Works for Prepared and Non-Prepared Saxophone